Ryan’s Criterion Link Collection: Friday, November 28th 2014

While there wasn’t a whole lot published, Criterion-wise, on Thanksgiving, here’s what I found. 

News

Wim Wenders’ films have been restored and are heading to Berlin.

The Berlin Intl. Film Festival has revealed the 10-strong lineup of Wim Wenders movies that will screen as part of its Homage to the German filmmaker. Seven of the films will be shown in newly digitally restored versions.

This year, the original negatives were scanned in 4K and digitally processed, providing the festival with new versions of “Im Lauf der Zeit” (Kings of the Road, 1976), the director’s cut of “Bis ans Ende der Welt” (Until the End of the World, 1991/1994), “Alice in den Städten” (Alice in the Cities, 1974), “Paris, Texas” (1984) and the documentary “Tokyo-Ga” (1985) in pristine picture and sound quality.

The folks at Eureka / Masters Of Cinema announced a pretty phenomenal line-up earlier today, for next year

Releases in the Masters of Cinema Series include Two for the Road, one of the great films by Stanley Donen (Singin’ in the Rain, Charade), starring Audrey Hepburn and Albert Finney; Fritz Lang’s masterpiece, Metropolis [Reconstructed & Restored] in brand new SteelBook packaging and including a second Blu-ray with more special features; Claude Lanzmann’s landmark documentary meditation on the Holocaust, Shoah and 4 Films After Shoah, a series of films made by Claude Lanzmann as follow-ups to Shoah (including The Last of The Unjust); Elia Kazan at his best with Wild River, a masterful recreation of a difficult, complex period in American history; Sidney Lumet’s The Offence, a harrowing and compellingly constructed chamber drama of police brutality and mental anguish starring Sean Connery; Raymond Bernard’s depiction of the travails of one French regiment during World War I, Wooden Crosses; Man of the West, Anthony Mann’s extraordinary western starring Gary Cooper; and finally Federico Fellini’s adaptation of Petronious’ myth of Satyricon.

Interesting

For Fandor, Michael Pattinson has written a pretty fantastic piece on long takes

There’s always something special about a great long-take. Though it can be as routinized as any other formal device, the long-take retains, in the right hands, an exhilarating appeal: it intensifies time by making us feel it, heightening the incidents unfolding within the frame.

The long-take has something also to do with dance—our fascination with it, our appreciation of it, our inclination to partake in it, even our need for it.